Dad3353

And I'm a drummer, so what would I know.

Maybe that my problem. My 6-string fretless doesn't have (nor need...) position markers at all (no more does a double bass, a cello or a violin...). The intonation of each string, at each note even, is done by ear, not by a 'position' on the board. Of course the octave sounds like the harmonic at the twelfth (and the other harmonics keep contant check, too...), so, to me, as long as the bridge is reasonable (define 'reasonable'..?), as the one in the photo seems, to me, I see no issue with intonation. Anyone with an ear can play that bass in tune, all along the neck, with the bridge set up where it is.

You do realise that this is a fretless bass, don't you..? How does one intonate an acoustic double bass..? (A clue : using one's ears, and a decent dose of both experience and practice...)

? ? ?

The only sensible thing the 'thieves' can do now is to leave the yellow-lined case leaning against the shop door before scarpering quickly. It's pretty much useless to anyone without that particular bass. A pipe-dream, surely, but it would really put a cheery on this cake. It would then become an 'open'n'shut' case, no..?

Does the drum need a port at all, though..? For a 'concert' kit (no resonant heads...), mics inside the shell had its place (if close-micing is the effect wanted...), but a well-placed bass-drum mic, or a boundary mic, give a splendid signal for the desk, retaining the character of the bass drum. If it's the batter head dynamic that's wanted, mic the batter side. On the other hand if the drummer really wanted the sound of a ported drum, there are excellent heads with tuned ports on the market. To each their own, though. Does the floor tom get cut, too..? Why not..?

Maybe a parallel to be drawn with the humble flute, for example..? It has its scope as a solo instrument, for those that know how to play it well, and can be fitted into many more complex arrangements, as it has its own unobtrusive character that blends in well. Less is sometimes (often..?) more. Just a thought.

... and loses his/her left hand in doing so. Loses right hand if recidivist. No, seriously..!

Is it still 'singing' if one doesn't understand the language, though..? A quite extreme example could be Magma. A beat box..? Vocalist, Shirley, but what about the Beach Boys, with their 'Papa Oom Mow Mow'..? Singing..? There's a lot of songs and lieder, interspersed with 'La La La La'. Singing..? Hmm... Not so easy, really. Does it matter..? Just sayin'.

Hmm... I must be doing something wrong, as my Paypal account shows me the details of my transactions, both receiving and outgoing. If I received a payment for a transaction I don't recognise, it would raise alarms in my small brain. That's not been tested recently, as I buy little, and sell even less, but there would be a mis-match if payment received wasn't for your ad, but for someone else's, I'd have thought.

That shouldn't work, as the payment received would not match the reference of your ad.

If I'm reading this correctly (that's not certain...), I can think of only one 'good' reason for having a separate, common, channel for Fx destined for the Master. During the mixing, it may end up desirable to have a channel not going thought these common Fx, or at least switch between in/out to compare. If sending to a common Fx, it would be possible to 'dose' the amount of Fx for each 'send', which would no longer be possible, individually, if the Fx is only on the Master. If this individual control is not required (overall compression, for example...), having this on the Master alone could make sense. There's nothing wrong with using both notions, though: route all channels through a common Fx channel, to 'dose' them if they require tweaking, and have global Fx on the Master as well, knowing that these will affect everything, together. I'd use both; for instance I have my drums in a group channel, and apply individual Fx to each drum element, but also a NY Drum Bus Glue compressor on the drum group channel. I have another NY Glue compressor on the Master, too. My answer, then, is... Both..!

That 👆 doesn't count.

A lot of my compositions sound like that 👆, without resorting to rigid maths. Semi-random can often yield quirky results, too. There are many maths or pseudo-maths approaches; fractals, anyone..? Or tracing the path of a wandering insect and attributing sounds to it. I tried, once, a concerto constructed from a photo of a brick wall...

'Cos bass is not a fish, maybe..?

Knows his plaice Has good herring Good bass tuner

A residency is also the term used when a band takes over a venue for the purposes of working out a set, a recording session, a concert or a forthcoming tour. Often with no audience, but sometimes with, so as to gauge reaction to the performance, or for filming/video/promotion. It can be as invasive as 24/7 for a few weeks..! Just sayin'; what's in a word, eh..?

Do you mean 'use of hi-hat'..? I play 'lefty', so left hand for the hats. I'd agree that it's important (or even 'key'...).

Knows his plaice Has good herring Good drum tuna

Phew..! You were lucky, there..!

Don't hold your breath; he's still busy trying to scrub the make-up off..!

Well, almost. My vintage Hofner Verithin is not ideally suited for slap (thank goodness...), especially with its black nylon-coated Trubass strings..! 'Thump', yes, 'Slap', not really.

... or for those on a budget ...

It's a long-standing joke; more about it here... Wikipedia ... Disclaimer : I'm a drummer, so of course it needs more cowbell..!

More cowbell.